My name is Lena
Waithe, I’m an EP on Boomerang, and you are
Inside the Writer’s Room. So, you know, my episode is set
in Black Pride, but I’m pretty sure
we’ve never actually seen black, queer characters at Black Pride. In our episode, I think
something we wanna talk about is relationships between men.
We share more, especially about our past
and things that bother us. So, this is like our big board
of everything. You know, I guess when you’re
starting your writer’s room, you wanna put together
your writer’s schedule first. You kinda know what timelines
you’re up against. So, everything pretty much
starts at the air day, and we kinda work our ways
backwards to give ourselves enough time
to write all 10 scripts. I did a lot of writing
on the show, but also, we really opened up
for these younger writers and they got a chance to come
in the room and have a voice. As far as the millennial
culture, I think with our episode and the whole flashback
of it all, it’s giving an appreciation
for nostalgia, and understanding where
you come from to understand where you’re going.
I understand with this culture they’re very forward
and progressive, and keep it moving,
keep it going. But sometimes
it’s just important to go back sometimes and reflect
on the past and see where you came from
and see how we’ve evolved. And that friend group has really
been in each other’s lives through periods
that are very important. Well, you change a lot
from college to even 26, right? And so, you can kind of see
that these aren’t just kids, they’re young adults. They’re tackling
all their issues and trying to make it work. My former assistant
and my current assistant, who used to work together,
got an episode together and it’s actually
a flashback episode. It’s really phenomenal. I think something that we did
was lay the ground work for their interest
in advertising, seeing them be groomed
by their parents, and hit college, like,
that’s all I wanna do. But then we get the contrast
of that in 101, and then also too,
at the end of the season, things [inaudible]
topple. So now they have to come up
with another plan. I always welcome pressure. I think that’s always
a good thing. I’m not allowing the pressure
to affect the work is because it’s a new take
on an old thing, and I think if anybody
comes to the show expecting to see 30 minute
increments of the movie, they’re coming to it
with the wrong idea. What we wanna do
is keep the spirit of what the movie was about,
which is a New Black Order. A big thing for me is always
dealing with trauma, even in comedy, and even though
these characters are iconic, that we love, that doesn’t necessarily mean
they make for great parents, and these characters
are reflections of that. And they’re dealing
with the trauma that has been passed down
to them by their parents and then they’re also
trying to step out of their parent’s shadow, but at the same time they can’t
escape where they come from. So, that’s really
what we’re playing with. And, action! All of our episodes kinda stand
alone as short films, almost. And when we assign
writer’s their scripts, we gave them
the autonomy to, okay, you’re gonna write
this short film about this subject matter
in the series. We really wanted to have
all our writers take ownership
of an episode, have a big set piece,
have a big emotional storyline. And I think, for us, it just makes the show
feel a lot more palatable and feel a lot
more entertaining. What are some of
the absolute things you guys think from the movie we have to include
in the first episode? We need to see Bryson
that make that entrance. One of my favorite quotes
that Reginald Hudlin, who directed the film,
told us is that “One of the most
revolutionary acts you can do is just to show your life
in its normal state.” And so, our act of revolution
right now is to show young, black people
in a professional setting, but still trying to figure out
their emotional lives, and trying to fall in love.